Natalia LaFourcade is probably the most original female vocalist from Latin America since Zelia Duncan (Brazil, early 1990's). Her style conjures perhaps a Mexican Regina Spektor. She was just 21 years old when Casa was released, yet her songwriting pays homage to a wide body of influences and proves her capable of carrying the base even further. It's like Miles Davis said in his autobiography: in order for a player to advance an art form, he or she must first master all the works that have come before. LaFourcade, like Davis, Coltrane, or Picasso, doesn't need any shortcuts.
One needs only to listen to Casa's title track to fully appreciate all that LaFourcade brings to the table. It begins as bright, acoustic bossa nova, then absorbs a heavier bassline and rhythm guitar as LaFourcade practically screams the final chorus. Her voice is omnipresent. She has the warm tone of Joao Gilberto at his campfire best, with a power and stupefying range that truly set it apart.
The genius of LaFourcade's songwriting is that it can frighten you, calm your nerves, make you smile, and pump you up, and sometimes all at the same time. "El Amor Es Rosa" and "Cuarto Encima" have the rock fury of an American band like Paramore, but "Gusano" and "Saul" would fit in the playlist of a hip lounge in Lomas de Chapultepec early on a Thursday night. Deserving special mention is "El Pato," a brilliant remake of the Brazilian classic that is as brief as it is brilliant.
I still believe that LaFourcade's best will come when she releases an album that plays exclusively to her jazz sensibilities, but until then I'll continue to hail her tremendous talent.
Youtube link:
Music video for "El Pato" - borrows look from El Temporada de Patos, a 2004 Mexican film.
http://www.youtube.com/watch?v=IPvoRt-_8Ko
Subscribe to:
Post Comments (Atom)
No comments:
Post a Comment